More specifically, we follow leaders who connect us to a mission we believe in, who clarify what’s expected of us, who surround us with people who define excellence the same way we do, who value us for our strengths, who show us that our teammates will always be there for us, who diligently replay our winning plays, who challenge us to keep getting better, and who give us confidence in the future.

Our present theory is that devotion to a task at hand puts us in harmony with our creative source. We dedicate ourselves to work itself, not to a false personality.

We start from the presumption that our people are talented and want to contribute. We accept that, without meaning to, our company is stifling that talent in myriad unseen ways. Finally, we try to identify those impediments and fix them.

I often say that managers of creative enterprises must hold lightly to goals and firmly to intentions. What does that mean? It means that we must be open to having our goals change as we learn new information or are surprised by things we thought we knew but didn’t. As long as our intentions - our values - remain constant, our goals can shift as needed. At Pixar, we try never to waver in our ethics, our values, and our intention to create original, quality products. We are willing to adjust our goals as we learn, striving to get it right - not necessarily to get it right the first time. Because that, to my mind, is the only way to establish something else that is essential to creativity: a culture that protects the new.

Good producers - and good managers - don’t dictate from on high. They reach out, they listen, they wrangle, coax, and cajole. And their mental models of their jobs reflect that.